By Richard Greene, Rachel Robison-Greene
From Machiavellian urban officers to important time mobsters (such as Arnold Rothstein, fortunate Luciano, and Al Capone) to deprave beat law enforcement officials to overzealous G-men to suffragettes to abolitionists to blameless voters stuck within the crossfire, Boardwalk Empire is replete with philosophically compelling characters who locate themselves in philosophically fascinating situations.
As Boardwalk Empire relies on ancient occasions, political figures and mobsters, the philosophical matters raised endure on “real life” within the method the few fictional tv indicates and films do. We see parallels with the occasions in Boardwalk Empire and modern political occasions, and among the characters in Boardwalk Empire (good, undesirable, and ambiguous) and modern figures. it really is probably the most renowned HBO tv exhibits ever and its reputation is at the rise.
In this quantity, twenty philosophers deal with matters in political philosophy, ethics, aesthetics, feminism, and metaphysics. Gregory Littman analyzes Nucky Thomson as a Machiavellian Prince. against this, Richard Greene casts Thomson within the function of a Nietzschean superman. Michael Da Silva appears on the advanced dating among Nucky and Jimmy (Nucky’s younger protégé). Jimmy feels resentment in the direction of Nucky for the position he performed in bringing jointly Jimmy’s father and his very younger mom. is that this resentment justified provided that Jimmy may by no means have come into life had his mom and dad now not met? Is there an ethical distinction among the damage that Nucky allowed to occur and the direct damage attributable to Jimmy’s father? Don Fallis considers the ethics of mendacity within the seedy international of bootlegging. Agent Van Allen’s certain spiritual attitudes convey a warped feel of morality to the Boardwalk universe. Roberto Sirvent brings to mild the ethical personality of Van Alden’s God. Thomson advises to “never allow the reality get within the manner of an exceptional story.” Rod Carveth explores the function that storytelling can pay within the sequence and Cam Cobb illustrates the function of deception. Pat Brace and Maria Kingsbury deal with “Outsiders, Alcohol and All That Jazz”—the aesthetics of Boardwalk Empire and the prohibition period. Margaret Schroeder is used as a motor vehicle for the feminine voice of the period. Rachel Robison-Greene discusses the position that gender performs towards the sequence. Ron Hirschbein lends a Freudian Analysis.
This publication is directed at considerate fanatics of Boardwalk Empire. It’s the one booklet to handle the preferred express from a considerate but immediately readable point of view.
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Additional resources for Boardwalk Empire and Philosophy: Bootleg This Book (Popular Culture and Philosophy)
56 Death exists and exerts 27 THE TOUCH OF THE UNKNOWN its force over our lives as an imperative, and it is through the Other that we experience that imperative force (mortality lies in the Other). As Alphonso Lingis puts it, ‘the imperative, death, and the other reveal one another’: It is in our mortality that we know the force of the imperative; in the exteriority of the imperative the absolute exteriority of death summons us. 57 For Levinas, it is this encounter—in which we are exposed to, and afflicted by, the vulnerability and mortality of the Other—that is the basis of our moral and ethical relations: [I]n its expression, in its mortality, the face before me summons me, calls for me, begs for me, as if the invisible death that must be faced by the Other…were my business.
It might appear, then, that nothing is to be gained from using such a problematical concept. But I believe that we have to persist with it: we must hold on to the significance and value of experience precisely because it is what is disowned and demeaned by the technoculture. The category of experience is important because it identifies and stands for qualities of existence that have been repressed and disavowed in modern technological societies. Rather than ‘progress’, then, I am suggesting that we use ‘experience’ as the ideal and measure by which to assess the achievement of technological culture.
For Youngblood, the computer is the ultimate metamedium, the medium that can simulate, and thereby contain or become, all other media (and image 39 THE SPACE OF THE SCREEN generation is just one part of its multimedia domain). 7 The universal machine is (western) scientific rationality brought to its culmination. Finally reason has been harnessed to overcome worldly limitations and to make all things possible. In this ideal domain, the mundane laws of reality are suspended and transcended, and all phenomena exist virtually, that is to say they exist in effect, ‘for all practical purposes’, though not in actual fact.